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The Charlatans UK: Wonderland" |
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MCA Records
A lot has been written about the
birth and death of the Manchester sound. Along with the Stone
Roses though, the Charlatans
have always been considered one of its founding fathers
giving rise to their more commercially successful
counterparts Blur and Oasis,
yet none of them can compare to the longevity that the
Charlatans have enjoyed.
At first, the Charlatans had great
promise, and their initial singles — including 'The
Only One I Know' — were hits, but as Madchester
and "baggy" faded away, the group began to look
like relics. It was commonly assumed that their third
album, 1994's Up to Our Hips,
was the end of the line. However, the Charlatans made
a remarkable comeback in 1995 with their eponymous fourth
album, which found them embracing not only the
flourishing Brit-pop movement, but also underground dance
and techno, as well as their mainstay of classic rock. The Charlatans debuted
at number one, and the group was hailed as survivors.
Yes, admits guitarist Mark Collins, "there have
been a few hiccups along the way. When we were doing
[1994 album] Up to Our Hips, Rob [Collins,
keyboard] got imprisoned. [1997's] Telling Stories,
Rob died. [1999's] Us and Us Only, 300 grand gets
stolen. We've had our fair share of slaps in the
face."
Over the last several albums, The Charlatans
have been trying to find themselves again musically. With
the death of the Manchester sound, and losing their
keyboardist, it is no wonder that they've been forced to
move from one genre to the next looking for a new sound
and a new musical direction.
Wonderland takes us on a musical journey. The
opening song 'You're So Pretty We're So Pretty'
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sets
the tone, a surrendering-to-the-funk swagger, followed by
the disco boogie of 'Judas' a self explanatory
title for a song about their dodgy accountant, which
suprisingly lacks bitterness or complaint but rather
celebrates the future. Already there's more focus, and
even signs of the odd chorus something that's not been
top priority in the past on the album's first single 'Love
Is The Key', which encapsulates their sexed up,
p-funk styled direction. This single out does 'The
Only One I Know' stylistically, and clubs across the
U.K. and North America will be putting away this baggy
classic.
The album's highlight is the stately shuffling
country-soul of 'A Man Needs To Be Told' which
features Daniel Lanois on pedal steel guitar. It's
genius, with Tim Burgess [Vocals] operating with
new added falsetto reminiscent of Curtis
Mayfield/Kurt Wagner. Tracks such as 'I
Just Can't Get Over Losing You' and 'Wake Up'
are lifted into more confident, free and funkier
dimensions. 'The Bell and The Butterfly' presents
us with an electronica rendered instrumental, which
emulates The Chemical Brothers
stylistically.
'Right On' grooves in a curious Bowie
Sound & Vision fashion makes a great partner
for stand-out 'Ballad Of the Band', eulogizing
this unique band's story and looks further on to the
future with the telling couplet "Through the
darkness/ There is a hope".
Wonderland is perhaps one of the most diverse
albums The Charlatans have ever put out.
The move they've made musically from the Manchester sound
is similar to the road taken by Canada's Sloan,
who were obviously influenced by The Charlatans.
Although the production lacks some of the cohesiveness
that their pre-1994 albums demonstrates, it has grit,
fire and musical talent and is probably the best album to
come out of this U.K. band..
By Aly Hirji, CanEHdian.com
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